Kermode & Mayo’s Take - Jeff Goldblum, Jurassic World: Dominion, Swan Song, All My Friends Hate Me, Reel Britannia

Episode Date: June 10, 2022

Simon speaks to screen legend, and fan of the show Jeff Goldblum about reprising his role as Dr. Ian Malcom in Jurassic World Dominion. Mark reviews new Jennifer Coolidge film ‘Swan Song,’ British comedy horror ‘All My Friends Hate Me,’ ‘Jurassic World Dominion,’ and new Britbox documentary series ‘Reel Britannia’ - highlighting the best of British cinema. Plus, Take it or Leave it, What’s on World, the Box office chart and more. You can contact the show by emailing [e-mail] or find us on our social channels. Show timings: 15:26 Swan Song review 24:20 Box Office Top 10 39:02 Jeff Goldblum Interview 53:31 Jurassic World: Dominion review 01:00:24 Take It Or Leave It 01:02:47 Reel Britannia review 01:07:08 What’s On World 01:08:45 All My Friends Hate Me review A Somethin’ Else & Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts Exclusive! Grab the NordVPN deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-daycare  money-back guarantee! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Something else. Your mark is on it. What's up? I shall more write. Good. I'm just... There was it. That was pleasant. So you're family are now happy. Thanks, Dad, for doing the beginning,

because they got annoyed that you stopped doing that. They still want more preamble. Do they? So this is from today's, this is, I was speaking on Wednesday. Right. From the times. So here's the thing, if you're thinking of writing to us,

correspondence at curbadermay.com, then you need to know that it's a shortcut to getting your witticism in the times. Oh, really? From the Times diary, I quote, a correspondent, correspondent to Mark Kermit in Simon May's film podcast, this was Heather, I think. Right. Who wrote in last week? Went to her local Odin to see venue top gun, and asked for a glass of wine to take in.

Sorry we've run out, the barman said. Gin and tonic, she asked. Again, they were dry. Really this thirsty film goer pleaded? The barman lent forward conspiratorially and gave a one word excuse for this run on the booze. Downton. Which is a great tale.

And thank you, Heather, for sending that in last week, and it's given Timesreader's much joviality and now we mention it again. You also sent me that they cited in the Times diary the thing that I had said that my band, the basics referred to as rebels without applause. Yes. That also turned up in the Times diary, so a big hello.

Yes, the Times diary. Sorry, you get lots of kind of whimsical pieces from this program. And what a fine program this is. I'm aware that as soon as I hit the script, my family are going to go, that was too, that wasn't enough. We should have done more stuff. We should have done more stuff. You got any stuff for the start of the show? No, I'm doing fine. Yeah, but my family are going to call you up and say, come on, we want more stuff. Okay, the most interesting thing that's happened to me this

week is that my car is currently parked outside your house, which I have never been to. Okay, that's true. That is true. Something that we're going to put right later. Okay, too long to explain how. As an interesting story went, my guess is that's not gonna be in the Times diary. Okay. What have we got coming, a sorry fam? What's coming up on the show later? Loads of stuff, we have Udok here in Swan Song.

We have this British comedy with horror inflections, all my friends hate me. There's a new series on Britbox that could not be more film adjacent, it's called Real Britannia. And the big film in the week is Jurassic World Dominion, which brings us to a very special guest. Yes, it does. It's the Jeff, the actual Jeff, Dr Ian Malcolm himself, Jeff Goldblum. We're telling us all about the new Jurassic movie, plus we'll be recommending some streaming films and we'll run through the box office top 10.

And as if that wasn't enough. On Monday, there'll be another take-to in our feature one frame back, which gives you some further watching related to one of the week's releases. Mark will be picking a Jeff Goldblum film for you and it might not be the one you'd expect, but I'd expect the one that you mentioned last week. Well, there are several that I mentioned last week. But the thing is, the Jeff Goldblum back catalogue is so extensively enjoyable that you could pick any of it. We'll pick something slightly more slightly obscure. And as you'll hear in the interview, the thing about Dr.

Ian Malcolm is, he dies in the first book. Well, he doesn't. Well, he doesn't. No, he doesn't. In the end, no, he doesn't. He doesn't. No, I check this out. He's in the dying mode and by the end of the first book, what does that mean? I'll explain exactly what it means. Yes. At the end of the first book, you think he has died. Mm-hmm. But at the beginning of the second book, uh, Lost World, it's explained that he didn't die. He survived. Did Michael Crichton write the second book? Yes, he did. I thought he was dead by then. No, he wrote the second book. He wrote the Lost World. He died. He didn't do it through table tapping. He was written by the estate.

No, he was written by Michael Crite in 1995. I'm sure he was dead. No, no, no. But as far as the book is concerned, if Jurassic Park is taken as a book in and of itself, he is in the dying mode, but he doesn't actually say, and then he died. But then at the beginning of Lost World, it says,

that's convenient. He lived. Guess what? He didn't get out of the cockatoo de car, basically. And in Take It All Either You Decide Our Word of Mouth on a podcast thing, Mark will be taking a look at Undone on Amazon Prime. Yes. Your suggestions for great cinema, adjacent stuff. We might have missed, because it's very easy to miss a lot

of stuff. Correspondence at Kermitomeo.com and on our very first take three, Vanguard East, take three. Take three. You know, there is an accapella gospel group in America called take six. And I'm thinking we could get to that probably. If we think of lots of extra things to do, we can be take six. And then an accapella, which literally means without just a voice, literally means, I'm sure you're about to tell me, in the church style, in the style of the church, which is kind of what this whole program is all about. Anyway, we haven't got to take six yet. Take three is where we are. Gonna do a watch along with Paul Thomas Anderson's punch drunk love on its 20 year anniversary.

And I've never seen it, so we'll... So the best way to see it is with me talking all over it. Exactly. You can subscribe to our Extra Takes on Apple Podcast to get all of that, or if you prefer a different platform, you could head to extratakes.com. And if you're already a Vanguard Easter, thank you very much for subscribing. An email here from who's

this? Oh, it's Ed in Leeds. Dear Midwitch and Kuku. Legacy Listener. First time emailer. On the subject of school reports, which is where we were last week when I read out. Oh, I said I was going to bring mine in and I didn't. I will do. I will do. I will do. I will put that right in which I got a school report from my maths teacher. I think that said I didn't realize quite how much little work I did. Exactly. Something like that. Anyway, Ed says the greatest one ever received was for CDT, cooking design technology in the late 80s. Mr. Clark was our woodwork teacher. It was possibly the least charismatic person I have ever met. But maybe behind the moustache and

dull facade, beat it a heart of a Serrano-like poet, as his report for my woodwork read thus. Edward's attitude, like his blazer, can often be found on the workshop floor. I think we should encourage these, you know, withering put downs from your teachers, back in the day when it was allowed, when you could do a withering put down. Anyway, it's a sheer brilliant, surprising I did not pursue a career in carpentry, but I'm hoping my attitude has improved somewhat over the years.

Thanks for not radicalising during your change over and remaining aggressively centrist. career in carpentry, but I'm hoping my attitude has improved somewhat over the years. Thanks for not radicalising during your change over and remaining aggressively centrist. We all need that right now. We fear change. Then he says, PS, yes, to heart stopper, which we talked about. Yes. Which I really liked. I have been watching it with my queer gender fluid 12-year-old and they make me believe

that they will make the world a much better place. In fact, they already do. Maybe we don't and shouldn't fear change after all. Thank you, Ed, from Leeds. Another Ed on the borders of Narnia, I was reminded by this weak story of a mother and daughter seeing top gun Maverick under the apparent belief that it was a sequel to Hot Fuzz. Remember that? It was very strange. Of an incident a few years back leaving a screening of alien covenant, assuming the shell-shocked young woman turned to their companion and asked, where was the little Bradley Cooper raccoon man under the assumption? It was a very different sci-fi sequel. They were coming to watch. Thank you. Another ed. It was a very different sci-fi sequel. They were coming to watch.

Thank you. Another Ed. I'm sure that may well be another rich area of... I went to see a film thinking it was something else. Can I tell you very quickly, my own woodworking practical design story? I'll be really quick. Yes. When I was at school in practical design over the space of two years,

I built an electric guitar from scratch, from a design in practical electronics magazine, total cost of guitar 25 pounds. But it took two years, it said it would take three weeks, it took two years. And Mr. Bembo, who is our practical design teacher, always considered me to be an idiot, we correctly so, because I was very, very cac-handed. And at one point, I was chiseling a pick-up hole in the chipboard front of the guitar. It's making quite hard going of it. I missed him back in a moment. He said,

Do you know why that chisel isn't doing the job very well? I said, no sir, he said, because it's a screwdriver. He asked you a question in the way you asked me a question, which is, when you say, you know that Japanese O-Turf in the 1920s? That's exactly the thing. No, sir. That's how I'm going to reply in future. Last week's streamers that we talked about, the Midwitch Cookies, which I really, really enjoyed. Eddie, see on our new YouTube channel, which is youtube.com slash

Kermit and Mayo's take. It's slightly long, but that's the way of it. Eddie says, in fact, the first three corresponders are all called head. Anyway, it really needs to be called an adaptation. It bears very little comparison to John Wyndham's original novel, a lot of turning characters around to fit modernity, dare I say, political correctness. If you expect a classic retelling of the novel, this lot of turning characters around to fit modernity, dare I say, political correctness. If you expect a classic retelling of the novel, this ain't what you're going to get. You have to let go of expectations of previous adaptations and view it as a millennial style

mashup in it, LOL. That's actually in the... In the end, that's not me. Yeah, that's not me. After being annoyed at Liberty's taken for the first few minutes, it then becomes enjoyable. If you just watch it as a spooky supernatural, that is roughly based on the original novel, you can enjoy it. Well, first of all, thank you for the email.

Of course, it's an adaptation. And as we said, it's a modern adaptation. And my worry going in was how are you going to do an isolated village in a modern adaptation? And I thought that they got round that rather well. And I don't think there's anything politically correct about it. I really don't. I think it's a modern adaptation.

And therefore, the casting makes complete sense. And what they have done is that they have made it more centered on the female characters. And Zellabee being a female psychotherapist, as opposed to Zellabee being George Sanders psychotherapist as opposed to Zellabee being George Sanders in the village of the Damford, which of course itself was an adaptation. Was George Sanders the voice of?

Yes, of sheer calm. Yeah, she was fantastic. Oh, I've got no time for that nonsense. I have a record. I have a 45 RPM disk of George Sanders doing train sound effects, which I should bring in. But do you remember the bit, sorry, in Jungle Book when the slate goes look into my eyes? You just bring up that time for that nonsense.

I was just... I was just... I was just... I was just... I was just... I was just... I haven't got time for that nonsense. You go, that's... That's who I am. Pistol. Yes.

Which we were talking about. dear television adjacent gentleman, says Dan Spanky-Turner. I'm writing to despair at the critical response to Danny Boyle's pistol. Oh, Danny Boyle. Firstly, a caveat. I'm not one of those disgruntled viewers who complains when reviews don't like what I like or vice versa. Okay, so my umbrage is taken with how many critics are saying that pistol is rubbish because it doesn't tell the Johnny Rotten story or the Sid and Nancy story. If I can I just say before you go on we didn't do that. Correct. It feels like a lot of reviewers are reviewing the series for what it isn't rather than what it is which is a show based on the memoir

of Steve Jones actually which is in the interview Boyle, precisely at the point that he made, because I brought up the impression given about the character of Malcolm McLaren. And he says, that is because this is Steve Jones' story. So that's the way Steve Jones saw Malcolm McLaren. And he actually describes Steve Jones' story as a back door into the Pistole story. And Dan signs off by saying, Pististol for me is a glorious romp through the life of Steve Jones and his time with the pistols. His impression of all those other than life characters and the cultural impact that the pistols made.

What say you gentlemen says, Dan? The first thing I'd like to say is it is kind of interesting that Steve Jones has probably told the most likable version of the Sex Pistol story, because heaven knows Johnny Rotten has told it enough times. It's interesting going, oh, there's a version of this story I like more. In the world of commercial radio, which you and I both inhabit, I slightly more than you,

but you also with your toe in the water, there's an ad for pistol, which we're playing an awful lot. And it just has the clip of Johnny going, God save the Queen, and it's absolutely no perfect. And I think, you know, it's very effective as an ad, and I think the whole series is really, really worth watching. Somebody wrote to me after I said, he said that Johnny got in support of Trump. He doesn't. right to me after I said, he said that Johnny Martin supports Trump. He doesn't. Simon? Well, he certainly is Trump adjacent.

I would say. He said he was voting Trump. I mean, that's, I'm sorry. I'm sorry, he said he was voting for Trump. He voted for Trump. Here's how you support somebody. You vote for them. You don't vote for them whilst holding your nose and go,

well, I don't really mean it, but I'm going to vote for them. If you vote for somebody, you support them. He said to you, oh, you're so left-wing. He did say it, yes, yes. And then he said, I'm voting for Trump. TGR on our YouTube channel. I like Tom Robinson a lot.

He's a bright, genuine, and talented man. He's an absolute star. However, to call him the true hero of punk movement is completely correct, utterly preposterous. Absolutely, on the money. This is TGR's moment, he's replying to you, so you're ready to repackle. I can't imagine Tom would see the claim as anything other than preposterous himself,

even in terms of simple chronology, it's ridiculous. In 76, Tom wasn't in a punk band, or even a proto-punk band, he was still in cafe society, most definitely not a punk act. Unfortunately, this sort of ludicrous revisionism, possibly motivated by wishful thinking bias, fatally undermines the credibility of Mark's entire review. OK, so a number of things.

Yes. As I made very clear, the most important thing that the pistols did was that they enabled a whole load of other bands to do stuff that was really, really interesting as I made clear in the review. Secondly, I was quoting a book called The Boy Looked at Johnny, which, as I said, argues that in fact, the two true King and Queen of the punk movement, who emerged from the punk movement, not who created it, were Tom Robinson and polystyrene. And I absolutely stand by that. You and your ludicrous revisionism.

That's what I was saying. It's certainly, I did ask Tom Robinson, but I met Tom Robinson, I think, the once. I spent most of the time just telling him how brilliant I thought he was, but I said, you know, you do know about that, that's what they went, you know, oh yeah, you know, any sort of boss. He sang tunes at my 40th birthday party.

Anyway, don't you think he's a total ledge? I do. Tell us something that's out and, you know, like a review or something. Okay, Swan Song, which is new film by writer director Todd Stevens, whose CV includes Gypsy 83 and another game movie. He grew up in Sandoski, Ohio, which I don't, it's not a place with which I'm familiar. And that's once again the setting for this latest movie, which stars Udo Kier.

Now, Udo Kier is somebody who has a place in your history and your heart, German screen legend, worked with Herzog, Vontrier, Guss Fansant, Guy Maden, Valerian, Barov Chick, and loads of other people. He plays Pat Pitsenberger, who is a former hairdresser,

Liberace of hairdressing, who he now meets in a retirement home where he smokes these long cigarettes, cares for fellow residents, fold napkins. A man arrives from the funeral home to tell him that his former star client, Rita Parker Sloan, has died and has said in her will that she wants him to prepare her for the coffin. He refuses, says, bury her with bad hair. But then circumstances change. He leaves the home, heads out into the world, on a trip across Sandusky in search of beauty products that he will need to do the job. His quest leads him to the part of D.D. Dail, played by Jennifer Coolidge, who is the rival who stole Rita away from him,

and from whom he is now trying to steal hairspray. Who is the man in this clip? Oh my god. Pat, are you? No. Yeah, look so... athletic. Come on in. Now Tristan, check this out. This man gave me my first job in the business.

And now he is mopping your vivante. Yeah, I've seen it done that, but... After all, you gotta catch his guy break break, because he really is a legend. This is Patrick Pitsenberger. Did all the socialites of Sindusky back in the day? Do you recognize, in general, about whom she was talking? I will give you a quote from the movie, which you saw him in and which you cited to me as a very important part of your life to know des otto you have to life in the gold bladder.

Oh, is it flesh for Frankenstein? It is flesh for Frankenstein and it was kind of bonding moment between you and me when I said one of the best ever 3D movies is flesh for Frankenstein. You said that you had seen Flesstra Frankenstein University of what? University of what? Film Society and how much you would absolutely enjoy. So he is a screen legend.

He has been in so many movies. Thing with this is, okay, you know from the outset where it's going to go. You know that he's going to journey across the town, landscape of his past. Memories will come back to him, he will confront old demons. As he does this, he gradually picks up a costume.

So he goes to a place where a salon used to be, now it's changed, but they're worried about him getting sunburned, so they give him a hat, a pink hat that he was wearing in that clip. He goes to another place where the person who's serving, it's a closed store, person who's serving remembers him because when she was a teenager, he died her hair blonde and he remembers her because he says he remembers absolutely everybody and she gives him this lime green suit that he then wears that then loses its sleeves. Then he goes to a bar where there used to be a drag act, it just happens that it's closing down but it looks like the stage is set for one last kind of bowing out. So all that stuff happens.

And the tone of it, do you remember I talked about a Harry Dean Stanton film called Lucky which was one of his last and finest performances? No sir. Okay, it was a lovely film, a really, really lovely film. And you know, Harry Dean Stanton, like Utukets, had this incredibly long career and worked in a number of different movies. But towards the end of his career, there was a kind of poignancy about him. Now, I think Utukets still got plenty more movies in him,

but there is something really touching about seeing this man who I've seen in so many different movies through so many different decades in what is his most likable, his tenderest, most sympathetic roles. He's almost like a kind of Anglo-Germanic, German, Anglo-Germanic Quentin crisp. That face that in other circumstances has seemed so scary so mean sometimes so vicious actually is just full of poignancy and pathos and you know the film premiered itself by south west it was then picked up by magnolia for distribution. I was really rather chanboy, no it doesn't change the world, no it doesn't do anything that's groundbreaking other than give it a care that the chance to show just how broad and sympathetic his range can be.

I was really surprised by how much I liked this. And the movie is Swan song. Still to come? Still to come? I'll be reviewing Jurassic World Dominion, Real Britannia and all my friends hate me. I know they do, but what else will you be with you? Yes, very funny. All that. Was that written by Simon Paul. No, it was clearly an ad lib. Yeah, it's written on my script as well.

All that plus the laughter lift and the laughter lift. Jeff Goldblum. MUSIC Hi, esteemed podcast listeners, Simon Mayo. I'm Mark Kermot here. I'm excited to let you know that the new season of the Crown and the Crown, the official podcast, returns on 16th of November to accompany the sixth and final season of the Netflix

Epic Royal Drama series. Very exciting, especially because SuperSub and Friend of the Show, Edith Bowman hosts this one. Indeed, Edith will take you behind the scenes, dive into conversation with the talented cast and crew, from writer and creator Peter Morgan to the crowns, Queen Elizabeth, Emelda Staunton. Other guests on the new series include the Crowns research team, the directors, executive producers Suzanne Mackie and specialists such as Voice Coach William Connaker and props master Owen Harrison. Cast members, including Jonathan Price, Selim Dor, Khalid Abdullah, Dominic West and Elizabeth Elizabeth DeBickey.

You can also catch up with the story so far by searching the Crown, the official podcast, wherever you get your podcast. Subscribe now and get the new series of the Crown, the official podcast first on November 16th. Available wherever you get your podcasts. Happy Nord Christmas. Protect yourself while Christmas shopping online

and access all the Christmas films from around the globe. Plus, when you shop online you'll have to give websites your card details and other sensitive data like your personal addresses. Those websites should already have their own encryption built into their payment systems, but to be on the safe side you can use a VPN to ensure that all data coming to and from your device is encrypted.

Even if you're using an unsafe Wi-Fi you'll still be able to shop securely with a VPN. And you can access Christmas films only available overseas by using streaming services not available in the UK. To take our huge discount of your NordVPN plan, go to NordVPN.com slash take. Our link will also give you four extra months for free on the two-year plan. There's no risk with Nord's 30-day money back guarantee. The link is in the podcast episode description box. This episode is brought to you by Mooby, a curated streaming service dedicated to elevating great cinema from around the globe.

From myConnect directors to emerging otters, there's always something new to discover, for example. Well, for example, the new Aki-K Karri's Mackey film Fallen Leaves, which won the jury prize it can, that's in cinemas at the moment. And if you see that and think I want to know more about Aki Karri's Mackey, you can go to Movie The Streaming Service and there is a retrospective of his films called How to Be a Human. They are also going to be theatrically releasing In January Priscilla, which is a new Sophia Coppola film, which I am really looking forward to since I have an Elvis obsession. You could try Mooby Free for 30 days at Mooby.com slash Kermit and Mayo. That's M-U-B-I.com slash Kermit and Mayo for a whole month of great cinema for free. And here we are still.

Sir Gietheer Doctorren begins this piece of correspondence just to add yet another perspective to the ambiguous personality of avocados. OK. This is Philip in Germany, by the way, not Peter from Germany, but Philip from Germany. The most commercially popular avocado cultivar is called has, which means hate in German, all the best, Philip. We have has avocados here. So yeah, so it means a hate avocado.

Well, I don't have avocados as you know, because you should do. You have to be better. You have to decide what they should be. And it's from Paul Baker. Because they are vegetables. In the adazs and... Are they fruit?

Are they vegetables? Are they fruit or vegetables? Paul Baker has sent us an email. First time correspondent, I have attention deficit hyperactive disorder, ADHD for short, although we often refer to ourselves as adders. I am a high functioning adder, which means I am able to hold down a career and be a reasonably useful husband and father without completely falling over absolutely all of the time. There are however many challenges and obstacles to overcome

with this condition, one of which is being unable to do or focus on more than one thing at a time. Although I'm a musician by trade, bass guitar and upright bass like Mark, I cannot even listen to music whilst trying to do something mundane like housework, as I constantly want to stop and fully engage with the music and will end up dropping something or breaking crockery. You'll show however seems to be an exception, although I am a movie buff and consider myself sinny literate, and even though I'm always fascinated by what you both have to say, there is something in your delivery, which I find both engaging and soothing at the same

time. You make me laugh with your banter, engage my squirrel-like brain with your insights, and open up new moving picture horizons for me, all the while allowing me to get on with the boring but essential tasks of everyday life. I struggle to pin down quite how you manage this, but whatever the alchemy is,

I look forward to many more shows that will light up my synapses, and was it synapses? Synaps the ironing less crushingly, head-bangingly, tongue-swallowingly, dull, with gratitude, Paul Baker. Well, lovely email. Which is nice. All correspondence from the Neurodiverse Nuke warmly. Well, I have no idea what it is either, but I'm very glad that you can listen to us and get on with the ironing. But in a way it's but I'm very glad that you can listen to us and get on with the ironing. But in a way, it's sort of weird thing that you can't listen to music because obviously you'll want to concentrate on every note of it,

but us, we're sort of like, so it's a kind of a supreme blandness. It's like, I don't know whether you listen to music when you work, but I can't... It depends what the work is. Okay, but I can't listen to music with words in it. No. So if I'm working and I've got music, I can have it if depends what the work is. Okay, but I can't listen to music with words in it. No. So if I'm working and I've got music, I can have it if it's just music. Max Richter, maybe. Max Richter, yes. Max Richter's sleep...

Bleh! Yes, indeed. Well, I used to pretend that I could work with music on. And I used to, when I was writing, I used to have a little bit of Max Richter or some choral music or something in Latin. I realised, no. No, you need silence. You need silence. Stephen King used to write with speakers blaring the Ramones or Motorhead or it was Ramones, he loved really, really loud. I think you can tell. For some section. Box of his top 10s at 18, Bergman Island, which I liked very much.

It sounds like a very pretentious idea. And yet the film itself is very light and profound, but in a kind of playful way. And I like the way it starts as one movie and then moves into another movie. And as I said before, it has the best use of, I love to love of any film I've seen in recent years. And number 10 in the UK,

nine in America lost city. Well, this is still you. Yeah, well, I'm not going to say that's hanging around a long time. Yes, Tom, well, this is the week eight. America number three, UK number nine, the Bob's Burgers movie, the Bob's Burgers movie. The Bob's Burgers movie.

Lizzie says, Simon and Mark, I wanted to get in touch after hearing Mark's thoughts on the Bob's Burgers movie. Lizzie says, Simon and Mark, I wanted to get in touch after hearing Mark's thoughts on the Bob's Burgers movie. I was particularly happy to hear that he'd enjoyed the film despite never having seen an episode of the show. Yes. My sister and I have been fans of the franchise for a long time and over the past few years it's become a real comfort to us who often relate perhaps too much to the belcher kids.

Having long anticipated our chance to see Tina and Louise on the big screen, we went to see it on opening night and were pleasantly surprised to find the cinema full of an excited and engaged audience who laughed, cried and at one scene involving teeth shuddered together. It was the first time post-COVID that I'd had that kind of experience in a cinema and owe how wonderful it was. Not only that, but the film itself truly exceeded all of my expectations. It had everything that makes the show so fun. Great puns, catchy songs, and a plot that twists and turns without losing sight of itself. All with the added touch of glass and glamour that can be afforded with a bigger budget. Truly such a love letter to the fans, but so wonderful that those who haven't seen the show

were welcome to the Belcher family with open arms and sexy burger costumes. Really? Yeah, sexy burger costumes. All the best to keep up the good work from Lizzy. Somebody tweeted our review of Bob's Burgers movie that was picked up by somebody involved in the Bob's Burgers movie who said that they were delighted that somebody who had absolutely no knowledge of what Bob's Burgers was had enjoyed the film. And it's very much like, well, I always said about documentaries, a good documentary will make you interested in a subject you had no interest in.

I went into Bob's Burgers thinking that I was going to watch a kid's cartoon. So I literally knew nothing and I loved it. Now, Downton is next. Yeah. UK number eight, American number five. That's the drunk audience. Yeah, that's the drunk audience. Or not, in case they make it.

Because they've all the cinemas of run out of booze. But interesting to know, has anyone been to see the Downton Abbey movie a new era without having seen the television, just picking up on what you say, does it make sense? If you go and see the Downton movie, and you've never seen the television,

my guess is that there won't be many people who haven't seen the television that go to the movies. I've only seen some of the television. I mean, when I saw the first Downton movie, I don't think I'd watched. I mean, I might have, because other people in my house watched Downton, so I did, I was on in the background, but I'm not a follower of the TV show, but I mean, it's like, you know exactly where you are. Sure. I think as you said last week, Downton, I've been a new era.

It's not the old era. Um, number seven here and the states, everything everywhere, all at once. This from Thomas Ibbitsen, Dear Wave and Particle. I was just listening to the second installment of your excellent new podcast, loving it so far. Steve. I would like to point out a subtlety of quantum physics

that is at the core of our existence and is often very difficult for people to accept. Einstein is referring to it when he made his famous statement, God does not play dice. I did not work at Sirn, but I do have a D fill in physics from Oxford University. I hope these credentials suffice. I noticed Mark making this mistake when he said that, quote, maybe if you're not looking at it, you know it's just still there or something on those lines. This is not true, much like Mark ironically blurted out immediately after this when commenting on a film, a subject in which he is much more qualified.

Anyway, this is the funny, hard to follow the syntax. Yeah, it's you wait. You wait for it. OK. Fundamental particles behave both as waves and particles simultaneously. Yes, actually, I know that. This is proved by the famous Young's double slit experiment, where light passing through two slits interferes with itself, much, it's a phrase, it's science. Much light waves on water, when two peaks cross the height of the water doubles,

and when a peak and trough cross, they cancel each other out. This happens with light, but light is also made up of particles called photons, which you can detect with very sensitive detectors. Interesting, interestingly, when you emit a single photon, I'm reading this with my finger up against the words just like I'm five. Emitter single photon, it does in fact interfere with itself. And when enough of these photons, I wish they come up with a different phrase, when enough of these photons pass through the experimental apparatus individually,

they form a pattern of interference caused by peaks and troughs of waves adding together. Yes. Yeah, yeah. Crucially, this doesn't happen when you attempt to measure which slit the photons have gone through, which is where the multiverse theory comes into play. This has only been demonstrated statistically until yesterday when physicists from Vienna University of Technology have actually yesterday in physical review research, and there's a link to that.

They showed through very subtle measurements using magnetic fields that a single neutron was in fact interfering with itself without resorting to... Come on Thomas, there must be another way of saying this. This shows very clearly that even when you're not looking particles exist at many places at once. And that's just a factor of the universe. Hello to Jason. Keep up the great work. Anyway, just on the multiverse. Yeah. The most pertinent point, which I think David Bedil was tweeting about again this week, the thing is, from a plot point of view, stop. You're writing a story and then you'd

go multiverse. you know, all sense of jeopardy disappears out the window because you can just do anything. Well, no. There's multiverse coming up later on in the show. I know, but stop. Unless you're incredibly clever with it, it's just, okay, well, I don't care, which in the case of everything, everything we're all at once, which is at number seven, I think they are. Number six. And the smart move is that you make things make sense within the awareness of the multiverse. Vicarum is at number six.

Yes, which I haven't seen because I don't believe it was press screened. If you have seen it, please let us know. The bad guys at five still hanging on in there, still quoting 20, 20, 20, 20, 20, no. Sonic the H2 at four. So that's now in week 10. So that has done absolutely astonishingly well, No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, dear Rory Keneer and Rory Keneer. My enjoyment of the film was enhanced by the classical references throughout the film, such as when Harper was holding the knife, such as when Harper was holding the knife. It reminded me so vividly of the painting by John Collier of Climmonestra after she cried to Mnestra, that person, after she kills her husband, from the look of rage and fear on her face to the similarities

in position and even the dress, I thought this might have been me looking too much into things, but then there is a moment later on when the priest character actually quotes Agamemnon to Harper in the bathroom, where unfortunately or fortunately, depending on who you ask, Agamemnon meets his end. Harper then asked the priest, what are you? And he responds with a swan. Weird, right? Perhaps or perhaps also a reference to Zeus when he disguises himself as a swan, to rape later, who just so happens to be Clyde Menestra's mother. I, Greek mythology is nuts. That was me, not Robbins.

This also links to the myth cycle of The House of Atreus, which is all about inherited guilt and generational tragedy. Mark picked up on the fairy tale elements of men, but I think Alex Garland uses mythology as well, to comment on the longevity of misogyny and how it is so integrated into our history this being explicit in the constant cycles of birth that we see at the end of the film. I would absolutely buy that for a dollar because that's... I'm sure that Alex Gollin knew exactly

what he was doing and in fact you were waving that picture at me, weren't you? Yes, the picture of Christ and the extra holding the knife. Holding the knife, which I have to say doesn't really remind me of Ms. Buckley, but anyway. Ella says, I hope you're well. First one to say your new program is an absolute joy. Thank you. Oh, they mean this one.

Yes. It's not the new one. No, I haven't got another new one. I did think Mark's review of Men this week missed an absolutely crucial element of the film. Okay, sorry. Horror can be approached intellectually, but for me, one of the most incredible things about the genre

is how it can evoke very real primal feelings, experienced in everyday life through a surreal lens. Yes. Sometimes I feel truly fantastic horror films, such as the Babaduk or Hereditary, for example, capture real visceral human experience in ways that naturalistic films just can't. Yes.

And men did just that for me. It captured trauma and evoked the dread and feelings of diminishment and threat that most women experience every day to some extent or another. There's lots more to that. I'm sorry if I missed that. I agree with it entirely.

And I, yes, I'm sorry if I didn't flag that up, but I agree that that's right. I, one of my problems with it was, one of the things that I have started to avoid as much as possible is in writing, some people refer to it as Femme Jeb as in female jeopardy. That the way you make people involved

and excited, can't think of anything else, let's put a woman in jeopardy. And because men revolve entirely around a woman being in jeopardy, I just thought, I didn't want to watch it. Anyway, I'm just explaining. Okay, so I hadn't heard that term before, phoenix ep until you said it to me.

So, and when it's used badly, it's just cheap sensationalism. Oh, how can I ratchet up the tension at this point? I know, let's get the woman or the daughter or something and put them in peril and they go, oh, okay, and I just don't want to watch any of that. And of course, interestingly, that it was a reaction to that caused alien to come into being

because it was very specifically described as what we do if we turn that on its head. Okay, that's good. Yeah. Dr. Strange in that multiverse thing, number two. Not as good as everything everywhere all at once. Number one is Maverick, Top Gun Maverick. Yes, well, I mean, I just, you know, I gave in to Top Gun Maverick and I,

it's, I really enjoyed it. It is a really well put together, ruthlessly efficient blockbuster that, you know, even as you are trying to resist its manipulative charms, you just go, okay, I'm sorry, but it's just so well done. And I think you felt the same way about it. It kind of reminds you what you go to the cinema for, which is it's a kind of visceral experience.

And yeah, and I just thought it was really well done, really good fun. Tom Cruise doesn't appear to have aged. And all the more surprising, because I remember when the first, you know, Top Gun came out, I was very, very sniffy about it. You know, I was like, for the military blah, blah, blah, blah. And then this came out, I was just like, yeah, there we go.

Take me away. Take me away, Tom. Katie Prido, who writes from Hong Kong. Last night, my husband and I went to the cinema for the first time in four years. Various things have caused me to accidentally become an NCG non-cinema goa for heritage listeners. I had a baby, COVID happened, I had another baby, COVID was still happening. I never meant to be an NCG. I kept hearing Mark talking about the incomparable feeling of the shared experience of people sitting in the dark watching a movie with

strangers and last night I was finally one of those people. We watched Top Gun Maverick, it was brilliant. I loved every moment, I sat in the dark with strangers, laughing, crying, all feeling the same emotions as part of a collective and it moved me to absolute tears. I was a wreck. We had to sit in the cinema for five minutes at the end of the film so I could get a grip. It felt so good to be doing something normal again. I hadn't realized how much I missed it and how much I needed it. Incidentally, God bless the kind usher who saw my meltdown and waited outside for me to compose myself before he came in to clear me up.

Take a look at all that jazz, long live cinema from Katie. Actually, just on that, I'm just turning to my copy of the economist. Top Gun is actually only the fourth top opening week. Yes, I know. So I know you know, I'm just explaining it to you. Oh, sorry. To the general audience. So beaten by Spider-Man, Dr. Strange and the Batman, but crucially, those are all franchise. They're all franchise and all Marvel film. So top gun says the economist, although arguably top gun is a franchise, because it's a sequel, gone. Top gun sold 55% of its tickets to the over 35s,

which suggests that viewers old enough to harbor fond memories of Mr. Cruz's original turn and are ready to go back to the cinema. So clearly the suggestion is it's an older audience, exactly the way Katie is. Yeah, that's very interesting. That's very interesting. That's very interesting. Yep.

And more than from Edinburgh Heritage listener, I have never until this week seen a Tom Cruise film. How about that? Wow. There may well have been a brush with fire in a way at some stage, but I've blocked it from my memory. You're a Caucasian. While, unwell, over the last week or so,

I watched the first top gun in preparation for Maverick. I was in no way over-ordered by the original, although whoever was in charge of the sweat spray deserved a raise. But the Mav trailer had sucked me in so I thought I needed some background. There was sufficient flashback that I could probably have worked it out. I have now seen Mav twice, both times at iMac screens because I had forgotten, after one thing and another, the utter joy of cinema. I went to see 007's return to cinema's late last year, saw various classics in my local cinema in post lockdown world, and I was the only person there. But Mav took me back to a new appreciation of big screen

experience, sitting in a cinema full of people laughing together, holding breath together, and experiencing a semi-clad rolling in the sea, Tom Cruise, in all his 59-year-old glory felt like an event. He's got to hate him. Some films deserve to be seen as a group, and this was definitely up there. Hopefully this is the end of posters for claiming films are exclusively in cinemas, all films deserve big screen experience, loving the new show. Okay, Mark, it's time to talk dinosaurs. Excellent. What's the New Jurassic Park movie called? It's called Jurassic World Dominion, and it's time to talk dinosaurs. Excellent.

What's the new Jurassic Park movie called? It's called Jurassic World Dominion. And it's cast includes Jeff Goldblum. You will hear my conversation with the mighty Jeff after this clip. How are you, Kitch? Yeah. Amazing, grown, it's shocking.

They're both in college. Can you believe that? And Mark? It's over. They're both in college. Can you believe that? And Mark? It's over. Oh. Orange, I had to hear that. It's okay. I'm back to me. My work. You know, it's... That's great.

That's good. It is. I'm alone. I last. Exciting times. Yeah, I'm living the Alan Grant life. It's just... Come here lonely. It's so free. I'm so alone, I lost. Exciting times. Yeah, I'm living the Alan Grant life. It's just, it's so free. It's so free. Ali, you don't come out all this way just to catch up now, did you? So there is a clip from Jurassic World Dominion.

I'd delighted to say that one of its stars, Jeff Goldblum, is with us. Hello Jeff, how are you? Hello, Simon Mayo. I'm fine. Thank you. How are you? I'm good. Thank you for doing this.

I was just about to tell you that I'm very excited to be here and to see you because I discovered you and Mark on my YouTube, on my telephone that I send my pocket right here, and I've watched many hours. I keep going from one to another. I keep binge watching your broadcasts and your reviews and your conversations. I love them. I love what you're doing and I'm thrilled to see you in the flesh and actually be here with you. I don't think I've done an interview of a 21 years which has started in a more promising

way. That means the arc is going to be a dramatically, we're only down to going. Well, I spent all morning listening to your records and wondering when the next album might be along the way. Anyway, you're not here to talk about your record. You're kind to say that. Well, we'll talk about it whenever you want, but thanks, you're a jazz fan. I have become a jazz fan through reading Michael Connelly books and reading about Bosch.

Isn't that interesting how you can get into jazz from a fictional character? In terms of pretend fictional worlds, where are we? So, with 30 years on, pretty much from Jurassic Park, where are we in the story of the Jurassic Universe? Let's see if I can sum up as much as I know. It was now, I guess, in real time, right? Because my character seems to have aged exactly that a literal amount of time, 29 years ago, or something.

The events in Jurassic Park, if you've seen that, happened where they built a park, where they displayed dinosaurs, and I said, bad idea, et cetera, et cetera. And now, since the last one, if you've caught up with the world movies, these trilogy of Jurassic World movies whose architect was Colin Travaro, who might have nothing but admiration and affection for him, which I think is terrific. Who's directed this? He directed and wrote the first one, the dress world.

And he wrote the second one, J.A. Bayonet directed that one. I was in it for those little, those little scenes, as you may have seen. And then this one happens in real time, four years after what happened in the last one. And dinosaurs are now all over the world. And we are, show goes larger in scope, a little all over the world, where dinosaurs are in proximity to and living with us all manner of dinosaurs. More different ones than we've ever seen. More spectacular, perhaps, and wondrous, we hope, and scary. But let's talk about Ian Malcolm, you'll character. Okay. Now,'s talk about Ian Malcolm, your character.

29, 30 years ago, I read the book, the first Jurassic Park. Michael Cracken, great, Michael Cracken, yes. And Ian Malcolm, then, is one of the most, it's not the most interesting character in the book. And there's lots in the book about chaos theory. And if I remember, right, he doesn't actually make it to the end of the book. But I think that's my character. Yeah, that's right. But anyway, so that whole idea of chaos theory, which is all the way through Ian Malcolm's character, do we get a hint of that? Because when we find you, you're the in-house philosopher at a biotech company.

That's right. So what have you been up to? The chaos theory, well, it made it a little bit into the dialogue and some of the talk in the first one, right? And I, you know, I'm nothing if not conscientious, and I couldn't, I'm no K, a, K-O-T-S-N, but I talked to the people, I read the books at the time, and talked to some of those people, and tried to understand it as well as I could, so that I could make credible some of my chit chat and references to it.

And it's an interesting field, isn't it? All about unintended consequences. And so my character, wise and ethical fellow that he is from the start says, hey, you may not realize this is going to end badly, I think. But they don't listen to end badly, I think. But they don't listen to me and this and that. Now, since then, in my imaginings and talking with Colin Travaro, since in these few decades, now, because of those events, I think, I'm just imagining if I'd gone through that, I

have not. I don't have what he and Malcolm has, I don't have his smarts or wisdom or courage, perhaps, drulness or whittiness. And I've never been through a life and death circumstance like that. And I can imagine, though, if you, as the actor is hired to do, if you've been close to death like that with a creature and seen people, you know, you're close to die. And then in the second one one have your life saved by your daughter, almost lost your daughter to a tooth and clawed situation and then she saves, saves us both

and all that. Hey, that must be a seminal and transformational experience. So I imagine that my character at this point might be appreciative and deepened and humanized and must encounter every day with appreciation of the preciousness of life. And now we find him in this movie, engaged in and sort of initiating a subversive activity with the help of my great old friends, Ellie Sadler and Dr. Grant.

What do you think of that? Yeah, I think that's a full semonset. But you also lead us on nicely to the fact you're with Laura Dern and Sam Neal again. Yes. That must have been fantastic to come back on set, a relaxed atmosphere with family and friends, really, must have felt like. It was quite fantastic. Yes, I so admire them.

We've stayed in touch. We've never been on screen together since then. Lord, as we know, as everybody knows, is one of our great screen artists as his Sam Neal, and I can tell you they're two of our most sterling individuals and delightful to be with them again on this project where we had an assignment that we were passionate about, said ourselves to it, and so it was great. And we had an assignment that we were passionate about, set ourselves to it, and so it was great. And we had all sorts of nostalgic connections and moments, and then this passionate little collaborative project. But it was not, I wouldn't say the headline was that it

was a relaxed atmosphere because as you know, or may know, we were the first big production to launch out there during COVID. So it was, and this is before vaccines, we didn't know if this was, we were taking our lives in our hands, but thanks to, and this is largely a British product and production. We shot it all here at Pinewood Studios and we were all bubbled up in this hotel nearby and because of Alexander Derpyshire our British producer and Pat Crowley, her cohort, they pioneered the spearhead of the protocols and many other of our key creative people were British.

This is a British show. It's a British talent on the screen as well. That's certainly right. As there have been all through Richard Attenborough and we shot at the Richard Attenborough stage for heaven's sakes. That was trippy and fantastic, like you say, and also Bob Pack and Pete Postlethway along the way. Yes, British through and through. We haven't talked about the dinosaurs, which are one to get to you in just one second,

but just on Ian Malcolm's lines. Oh, I know. It was not so relaxed because it was COVID, but yes, within it, and because of that, we bonded even stronger. And we all not only Lauren, Sam and I, but the Bryce and Chris, and everybody else in this fantastic cast, whom we'll mention, we made a family of ourselves, yes. We delight in Ian Malcolm's lines

because you seem, I think, a number of times to speak for us. You know, everything is crazy, and but you seem to be aware of the fact that it's completely crazy. And there's one point, even where you say, Jurassic World, I wasn't a fan. You know, I feel as though you have that role that you're speaking for the audience. Well, yes, but not meant to be meta any criticism of the of the movies. But yes, one could easily see why logically my character would say, hey, you made another park. Again, after everything that happened, after everything that I've said.

And I've been, you've heard me on the subject. I've written books on the subject now. I think in that world and the made up world, I'm probably known for. And my opinions, yeah, that's so I was not a fan of that park idea. So the first film was so, was such a jaw dropping experience because we hadn't seen that shown on the big screen in that way. Before, can you compare what it was like to film this movie with dinosaurs, whether it be CGI puppetry, whatever, with what it was like back in the day?

Sure. I'm sure. I mean, if you're interested, or if any of our listeners are interested, yes. I've talked about it a little bit before. You know, it was new. Back then, you're right. It was a, as I now realize, it was a landmark technological breakthrough that changed as some say that people who really know, say movies forever in the last few decades.

You know, anything we can imagine is possible because these CGI techniques that they really just discovered were possible. Stephen Spielberg once he discovered, you know, there's a description of a of Kathy Kennedy and he and Dennis Muren who was from ILM who said, hey, I think I got something that, you know, you want to see dinosaurs running, they'd experimented with guys and suits and so I think I got it and they went to a room and he said, look at here's something on the computer that we've just put together and they all stood up and as if, you know, Dr. Watson, you know, I can hear you a kind of moment, Eureka. And sure enough, they were able to make with Stan Winston's contribution with animatronics. He won an Oscar for it, they put it together and sure enough as you see our characters doing that in the movie, the audience is also with John Williams' score helping to enhance the awe and enchantment of it.

See this thing presented for the first time. Now here we are 30 years later, yes, I think things have evolved but it was Colin Travaro's particular vision and idea to have more, if given the choice, more animatronics than CGI in this. So John Nolan of the British creator of the animatronics, he made this new array of animatronics and we had most of the time, not just a tennis ball to look at, they painted in later. Or, as Stephen Spielberg did in the first one, 30 years ago, through a bullhorn, it was not that primitive, we had these real things. So you really got the sense that you were acting with all those

big dinosaurs, and that's how we did it this time. Are they scarier? I remember the first film being a PG. I think this is going to be a 12A, you're a family man, is this what age can we take our kids to? That's a very good question. I don't know, nobody's given me any guidance for this. You're the first one who's asked. I remember though, this, when we were doing

this cycle of publicity 30 years ago, them saying specifically, hey, you better tell people. I don't know what was rated, but you better tell people, because I think we've made a cracker Jack, a humdinger of a movie, but I'll tell you, when the T-Rex gets loose in this and that, we don't want any big trouble,

we don't want to harm anybody, and kids are sensitive. So parents, you better tell people when you go and do these interviews, parents, please see it first yourself, if you have any question. I don't know, I haven't heard any just anecdotally Nobody's come up to me and said boy, you're really ruined my kids life. Sorry. Mostly they say see, you know I've seen it 200 times because the kids can't stop watching it and our kid was three

I said weren't they scared? No, but now we've got two kids for the first time We're gonna show them this in a movie theater. They've seen their almost seven, six, almost seven, and five, they're very sweet and sensitive. They're two boys, but they say, oh, we wanna see scary movies. Well, we're gonna take them to a movie. They've never been to a movie theater. We're gonna take them to an iMac screening of it

on Sunday, the 12th, when after it opens. And, but I'll keep my eye on them. I'll tell you, don't want to ruin them but I'm hoping that they get a big kick out of it and maybe they can see the fly in a few years. Well not yeah maybe in a few years. Jeff Goldblum we're out of time but we appreciate you spending some time with us. I can't tell you what a thrill it is. I'm going to be continually watching however whatever however this goes or however mark I can't wait to meet him, whatever you guys actually say about the movie or you're Jake with me. And I'm going to keep watching you.

I just get a big kick out of you guys. Jeff, thank you. We're charmed, of course. Thank you so, so much. I appreciate it. The one and only Jeff Goldway. There was so many points of reference in that. Can I say first of all, what I remember, if you're a producer on Justa Minute radio

for long running quiz show, hired Jeff because he's just walking. And then he goes out, he sentence construction is quite extraordinary. But he says, he listens to, he watches us on YouTube. Well, I mean, no one is more astonished than me. Yes. And more delighted.

Yeah. So that, so that he, and he's, he seemed genuinely thrilled. Now, maybe he does this to everybody. And when he was being interviewed by the Worthing Heralds, maybe he said, I always read the Worthing Heralds. I love what you're saying about the pier. I should point out that I have interviewed him before, but it was many years ago, many, many, many years ago.

There'd be no reason that he would know that. But he was on, back when Radio 5 was Radio 5. Yes. I did spend an exciting 20 minutes with him. Well, it's the same torrent of thought. It's an incredible interview, E. Let us know what you think about Jurassic World Dominion. Well, I think that the...

I wish that the film was as entertaining as that interview that we had just heard. I think the thing with the film is it is a solidly unremarkable and a little bit plotting conclusion to the second trilogy, to the world trilogy. So essentially without wishing to rehash the plot, picks up four years after the last film in which we heard Dr. Ian Malcolm saying, you know, Dynasties and you can work, well, I can't do the Jeff Colham of the press, and obviously. So now, also co-existing are the old stars and the new stars, so the stars from the part trilogy, Sam Neill, Laura Dern, Jeff Goldblum,

and the stars from the world movies, Price, Dallas Howard, Chris Pratt. Goldblum's character is now signed up to Biosyn, clues in the title, who are a genetic engineering company, probably doing bad things, and appear to be run by Elon Musk's, you know, evil twin. Evil twin. Or just Elon Musk.

Or he's blooded by Elon Musk. And they are doing a whole bunch of things which seems sinister and Jeff Goldman seems to be employed solely for the purpose of saying that this is not good. I think this is going to be a bad idea. That seems to be his job. And then they all have to pull together in order to save the world from eco catastrophe in our history. So, I do think that the first Jurassic Park was an astonishing,

it absolutely terrified me. The Velociraptor's sequence is up there with some of the best stuff from Jaws. Everybody remembers the glass of water shaking, the appearance of the T-Rex. I thought the second film was, okay, because it means Spielberg is Spielberg. I think since then it's been a bit taken or leave it.

The third instalment, Jurassic 3, the Joe Johnson Mom was me, yeah. And then the world movies, they're all right. The J.B. owner was very visually interesting. This really feels like it's playing its safe. It just feels like a series of kind of, you remember that bit, you like, here we go. You remember those characters that you like, here we go.

You remember that bit when you saw a multiple, here we go, you remember those characters that you liked, here we go, you remember that bit when you saw a monster where here we go, that it doesn't make any sense. It's got five plot strands going on for a moment, spends the first 40 minutes trying to figure out what genre it is, like do we want to be a James Bond movie with a bit of Chris Pratt running around on a motorbike? Oh, do we want to be a mission impossible movie with him jumping the motorbike into the back of a plane?

Or do we want to be an Austin Powers movie? Because look at this, or do we want to be, you know, an Austin Powers movie, because look at this set, it looks like it's, you know, Dr. Evil's layer. So there's a lot of that, and then there's an awful lot of dinosaur stuff, the special effects are, well, what you'd expect, although I have to say at the beginning, I thought some of them looked a little shonky. I mean, it's not, you know, considering this is-

It settled down a bit later, but some of the, in the first like five or six minutes, oh, I was expecting the effects to be slightly better than that. Yeah. And then everything just felt like in very much the same way as Rise of Skywalker, it just felt like, okay, we're bringing everything to an end. Here are the characters. Here's the staff, here's the thing. Here's 58 plot strands, not really sure about any of them. And all the best stuff is when Jeff Goldblum is taking even the most incidental line

and turning it into a strange and wondrous voyage of discovery and the rest of the film felt, honestly, okay, it'll do well, got some spectacle in it, too long, very plotting, overplotted, mechanical, felt like a theme park ride. But, you know, it does what it says on the tin. It's got those stars that you like and big dinosaurs Jeff goblem if you're if you're listening and watching You're very welcome on the show anytime anytime as long as we can talk about the mario Mark was saying and what what was what was what was I've just in case he's disappointed in us? You think he doesn't know no Jeff goblem is a smart guy very very

He knows that the movie is fine. I said to him no more than fine next time he's around if we'll get a piano into the studio and he could come in and play the piano. Can I bring the double bass? I don't know about that he's not quite sure about the double bass but he does love that. Did you ask him? No I didn't I'm just anticipating that. Then I'm then I'm bringing the double bass. Well Jeff if you are watching you can come in you have to play with Mark however. So Jeff if you'd like to come on the show at any time, you're very welcome and bring a piano and we'll sort it. We can make that take four, we can make that as an extra take. Yeah, you need to make it take five. Then I'll bring the double bass and that will be take five.

And then if take six are listening from America, you're very welcome to come and see in the show. Next, fortunately, it's time once again to step into our laughter lift. Don't mind the smell, maintenance are on the way. Going up. Oh. I should have waited. You messed that love the way. You know what the secret of comedy is?

Timing. What's the secret? Timing. Anyway, we're going up. Timing. Floor 12, please. Beekeeper's Bell Free. And before we get there, Mark, I just wanted to tell you how my week has been.

Yes. I went to the city zoo. Did you? Saw a pig, all dressed in black wearing eyeliner and a fields of Nephilim t-shirt. Okay. Excuse me, why is this pig all dressed in black wearing eyeliner and a fields of Nephilim t-shirt?

The keeper said it's the stop in being bullied. Batman said his job was to protect Gotham. Timing. My postman... Postman. I... Postman really made me laugh this morning. He always does.

Why postman so good at jokes, Mark? I just say that that joke will be... Batman said, got him. But anyway, sorry. That's not what I'm working on. No, exactly. Got him. Anya, put my postman so good at jokes. I don't know why postman so good at jokes. He's all in the delivery. Hey! I'm a little bit ashamed, exactly. Got ham. Anya, put my postman some good at jokes? I don't know why postman's so good at jokes.

Yeah, it's all in the delivery. I'm a little bit ashamed, Mark. I would like to apologize to everyone who saw me get thrown out of the London Aquatic Centre over the platy jubes long weekend. I was told by my mum many years ago that it's okay to occasionally pee in a public pool if you can't help it. Apparently, the rule doesn't apply from the 10 meter diving board, but I didn't know that. What's still to come, Mark?

I don't know, I've lost the wheelchair. Mark says, real Britannia and all my friends hate me. And then I say, maybe you should try being a bit nicer then. Hey! We'll be back after this. Oh, Paul! Okay, it's take it or leave it Mark. Okay. Take it. Take it or leave it. This is where we post a list of the best. Not worth it. Leave it. We post a list.

I think it was Dennis Warton. It could be John Thor. One of the two. We post a list of the best and worst films available on streaming services and Mark picks his must watch. Choices this week include a late quartet, Tokyo Vice, Gold, the Nest, and the Silencing. Someone called Panicky in the UK on our letter. That's good. That is very good. I've seen a late quartet twice now.

I loved it the first time. Second time didn't quite live up to my memories. Still all worth a watch, not least for the cast. Senior years are huge waste of time that I'm embarrassed to have watched. Sam Richardson and Mary Holland deserve better. Claire says, senior year is a nostalgia trip for 30 plus millennials like myself and clearly made by someone with a love and respect for the 90s and naughties teen comedy genre. It fails to ever meet the highs of these films though so you might be better off revisiting your old favorites instead.

Morvan says, I really love mothering Sunday. The poster is so weird, but as a lover of all things, Josh O'Connor, it does seem a no-brainer to see. It's simply had an undercurrent of darkness runs through it. It deserves much more praise, in my opinion. Michael Heap says, despite being, you like Josh O'Connor. I love Josh O'Connor. Michael Heaps has, despite being different in tone and narrative from the book, Tokyo Vice is excellent. Any of those appeal? The one I'm gonna go for is, one thing you're gonna think is the Nest,

which I think is Jude Law's best performance in ages, written directed by Sean Durkin, who made Martha Marcy May Marlene, which I absolutely loved. And the Nest is a kind of psychological thriller that you keep thinking is gonna turn into a ghost story but doesn't quite, but maybe it does and really, really atmospheric.

And I think that's my choice. And where can I see that? You can find that on Netflix. Excellent. I have that. On Nest Flicks, as they should call it. Thank you very much. Thank you. Nest Flicks, very good. Very good. This is genius. I'll quality you as they should call it. Thank you very much. Nest Flicks, very good.

Very good. This is genius. Oh, quality. You have to pay for it, though. Oh, no, it's free. So what else is out? What else is new? What you would be interested in?

But real Britannia, which is a documentary series on Britbox, documentary series of a modern history of British cinema, starts by asking what that actually means. Are you going to hear a clip from Episode 1 in which you'll hear the voices of Stephen Fritz, Steve Wolley, Sally Potter, Terence Davis, Mike Lee, Ken Loach, David Putnam, and the beginning Edgar Wright. What is the British film? Don't ask me.

I am the clue. How do you define Britishness? What I don't think it is is looking to another country for the impetus. I think most filmmakers would say they're not defined by their country but by their intention to communicate. There is Hollywood and there is World Cinema. And World Cinema is what we are part of. I think a British film is one which spring from the culture and the experiences and stories and comedy

and the web life of the people who live on this land, in these islands. Because as we all know, it's actually very hard to find what a British film is. So the series is made by John Spirer and Hank Starr's in association with the BFI, the British Film Institute. And it does include interviews, but the first two episodes, which are the two that I've

seen, are, it's largely a narrated essay narrated by Nick Hound, illustrated with clips from the movies that it's talking about. So the first episode concentrates on the 60s and the way in which social change, social realism had reinvigorated, theater and cinema, and what happened in British cinema through 50s and 60s, and how the new wave of British cinema came about. And then the second episode is the 1970s. So I have plenty of fun with Ken Russell,

who gets pushed into the 70s. At the end of the 60s, he said, well, Ken Russell, but we'll do him in the 70s, and then Nick Rogan. So the interesting thing about it is this, obviously, I made Secret of Cinema for the BBC, which is like an erated essay on a series of different themes about cinema. And this is an erated essay, but they're very different, very, very different beasts. But the thing I'll tell you from doing Secret of Cinema is that what it really comes down

to is your clips sourcing and the editing of those clips. You construct the program in the editing. It's a really, really very difficult job. And if it's done well, what you do is you find a way to tell an old story in a new way. And I think that this does that. It has an argument. I always, I was quote that thing that in David Croninberg's video drum, she says, video drum has a philosophy and that's what makes it dangerous. And with any of these

things, what you need to be, what you need is for it to lead you through a landscape that uses clips to illustrate that landscape well, uses language that makes things accessible, understandable, introduces you to films that you know, but also adjacently to films that you don't know and plots a course through it. It's a very, very complicated thing to do. And I think this does it in a way that's very watchable, sprightly use of animation, very deft use of clips. I mean, what's intriguing is not only does it find a path through these the decades that I've seen so far, 60s and 70s, but also very specifically make sure that certain films which have been lost or certain films which have been overlooked,

certain films which have had people to turn their noses up at have been rediscovered and brought back into the fold. So I was very, very watchable. I read a review that said, you know, a treat for Sineas. I don't agree, I don't think you'd have to be a Sineas. I think you'd just have to be interested in film. I think it's very kind of very welcoming and very easy to watch and absolutely terrific

in terms of the way in which the clips are used to construct an argument. And it has an argument and that's what, that's its strength. Jeff Goldblum in that interview that we played, the way he talks about Jurassic World Dominion, he makes it sound like a British film. No, no, I know, absolutely.

And the whole argument about what, I mean, of course, Ken Russell's autobiography, one of his autobiographies, was called a British picture, because Ken Russell's mother used to use the phrase, is it a British picture by which she meant is, does it take place in a kitchen in black and white with somebody having a miserable time? And Russell was like, there's a thing in the second episode in which he said, Russell clearly hadn't got the memo. If you'd like to get in touch,

we would like to hear from you. Correspondence at COVID-A-Mail.com, a bit of what's on. This is where you email us a voice note about your festival or special screening from wherever you are in the world. Email yours to correspondence at curbadermain.com. We're going to start this week with Ellie. Hello, Simon and Mark. This is Ellie, the co-director of Final Girls Berlin Film Festival. We're a festival that showcases horror films made by women and non-binary filmmakers.

We're having a weekend of horror talks on June 11th and 12th over Zoom and it's all free. Go to FinalGirlsBrilliant.com for more info. Thank you! I'm Lewis Chadwick, Community Coordinator on behalf of the Free Day British Independent Film Festival of Premier Short and Feature Films, showing at the Abbeygate Cinema in Buryson Edmonds from the 9th to 11th of June. Tickets are available to purchase on the Abbeygate Cinema website, www.AbigateCinema.co.uk. Hello Simon and Mark, I'm Dan McGowan and I'd like to tell everyone about the Unity Film Festival, showcasing some of the best inclusive film work from around the UK, Europe and beyond.

It's on in Cardiff, the 20th and 21st of June, Banga on the 28th of June and Lynethy on the 1st of July. More info can be found at www.highjinks. That's hig.inx.org.uk. We'd love to see you there. Thanks. So we had Ellie talking about the final girls Berlin Film Festival, Louis Chadwick. Louis Chadwick on the British Independent Film Festival

and Dan McGowan on the Unity Film Festival. Fantastic. Yeah, a good, a good, interesting spread of ideas. Yours for next week. Just attach it to an email correspondent at curbinameo.com. What else is out? All my friends hate me, which is an uncomfortable and often cringe-inducing deliberately so, comedy of class and error directed by Andrew Gainer and written by Tom Sturton and Tom Palmer, who are a comedy sketch duo known as Totally Tom's, who work because they're both Tom, get it?

Who were in Edinburgh in 2011, I think they're nominated for a newcomer awards, they've been on YouTube channel for BBC 3, Sky Atlantic and Metat School have been together since then. This is their first foray into feature films, this premiered in Tribeca in 2021, it was then at the London Film Festival, it's been picked up for distribution by the BFI, by the British Film Institute. I had the two writers on the monthly show, that I do at the BFI South Bank. So Tom Surtan is Pete.

age 30 is just returned from working abroad, gets an invitation from his old university mates to celebrate his birthday in a posh country house. On the way to the house, which is in remote country wilds, he has a strange and disturbing encounter with a mysterious figure. Then he tries to get directions from a local, everything goes as a little bit straw dogs. Here's a clip. Hello. Excuse me, sorry. I'm, I don't suppose you know where Cleve Hill Manor is, do you? I do, yeah. Good, Drake, and could you tell me where it is?

I can, yeah. Oh, good one. You got me. Sorry. Couldn't resist. Why'd you need to know? Lost? Yes.

Thought as much. Yeah. You all sat there and let you down then, eh? Surprise, surprise. Long journey? Yeah. Sort of late for home party, actually, yeah. So what I mean about comedy of all-quadness and that kind of...

It might mean some of the conversations that I've had when the kids were younger, trying to get into a small, precise question. them to ask more precise questions. I go, so that was you. What's for lunch, you know, all those kind of questions in here and try and narrow it down a bit. Yes. You know, that did look awkward. Anyway, he then, he says, you know, I'm not sure when you, which you might well get to the house and his friends, you know, all my friends hate me.

They are all oddly horrible to him. Or are they? Is it all just in his head? Do they hate him? Has he done something wrong? Or is he imagining it? And everything is heightened when they invite a stranger that they've met at the pub that they describe. He's a great laugh. He's going to come along. And they all think that he's just like, you know, fun. But to Tom, he's not just an interlope, he's a threat, he seems to be orchestrating against him, he seems to be making everything. So he suddenly finds himself absolutely surrounded by this hostility and this kind of conspiracy and this borderline horror that he doesn't understand. So what the film does is it walks this tightrope between being on the one hand funny and the

other hand creepy and unsettling and slightly horrifying. And it's a very difficult balancing act. Usually if you combine those two elements, they can often work against each other, like comedy, dispels horror and horror undermines comedy. And it's very interesting how much, all my friends hate me, manages to keep that balance. Do you remember the keyer nightly film that we were talking about, is it called Silent Night? Oh, the Christmas one. Yes, I do.

That has that similar thing that you're going, I'm sorry, is this funny or horrible? I'm not sure which of the two it is. And in fact, I think we decided that either way, it wasn't very good. Yes, that is good. This is what happens if you get that balance right. If you manage to actually not fall off the tightrope, you know, annoying people in an uncomfortable

situation, not instantly sympathetic, actually often profoundly unsympathetic, and yet the balance makes it work. I mean, it's not perfect. It's been described by the filmmakers as a dark comedy about social paranoia and Peter's friends as written by Ben Wheatley. And I actually think that Peter's friends as written by Ben Wheatley is a very good description of that thing, but, you know, yes, it's comic, but it's unpleasant and awkward and edgy, and for a lot of it, it manages to keep that balance surprisingly well, and it's a very hard balance to keep.

All my friends hate me, thumbs up anyway. We'll find out, I don't know what the film of the week is gonna be, but we're gonna find out in 30 seconds. Well, first of all, I'm just gonna roll the credits as it's the end of take one. Production management, general all-round staff was Lily Hamley, videos by Ryan Amirah. Johnny Sochels is Jonathan Imiere.

Studio Engineer was Josh Gibbs, Flynn Roder is the assistant producer, Hannah Tulpit is the producer, and the red actor as ever Simon Pull Mark, what is your film of the week? Double Bill, all my friends hate me and swan's on. And not the other one. Okay. It doesn't need the support. It does. Yeah, absolutely right.

Thank you very much indeed for listening. We would love you to send us some emails and tell us stuff. You send it to Correspondence at CurmanMero.com.